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I promised a stereopticon of the Union Pacific Cheyenne round house but, face it, this view at Sherman station is a lot more dynamic as a stereo view. I studied some of the old William Henry Jackson finished stereo views and they were saturated yellow so I shifted the balance of my old stereo original. I made it from an old Abraham Lincoln card. In Photoshop, I cleaned the images and titles from the old front and the text from the reverse for a blank to use at my will. The style mimics an original card pretty well. A while back I took some of my own views sepia toned and reproduced as stereo cards to an Estes Park historic meeting to display. One fellow loved my built up stereo cards and wanted to buy one swearing it was real prize. I replied that it I knew it was fake having just knocked it out and gave it to him. I assembled it from layers of parts and used pins, sand paper to round the corners and an Xacto to aged it. Scuffing them on a concrete floor does wonders too. I bet a microscope would detect the pixels. This construction was done in Photoshop but I like it pretty well and I might cobble an "original" up from parts and layers then age it properly for the Antiques Roadshow.
Here we are at the original station on the old grade of Sherman. The main line was rerouted south of here and Sherman was abandoned in 1901. I found and confirmed traces of the old roundhouse and depot by closely tracing the old line on Google maps near the Ames pyramid monument. I also found what may be remnants of the old wind mill. There are no Sherman remains today after UP drove the twin tunnels and regraded the line. All of the old route can be found by following the grade from here: www.google.com/maps/@41.1330231,-105.397293,137m/data=!3m...
This whistle stop looks pretty rustic in the late 1860s however it was certainly brand new with barrels between the rails and elsewhere. Barrels often transported new rail spikes before aging fine wine. The telegraph line was a bit crusty and one looks askew; it looks to be propped up by some ties. There are also unused piles of ties. All the right of way ties are random, fresh and hacked off, rough cut instead of the machine cut ties that came later. The view west shows several wooden buildings. Two men are on the platform next to the main line in front of the water tank down the line. This must be very few days or months since the crews graded and built here.
William Henry Jackson shot this historic place for the USGS "United States Geological Survey." It looks like he was heading west. This shot shows the effort it took grading over Sherman Hill, Dale Creek, Laramie and down to Green River.
Arca Swiss 69 F-Line View Camera, 150mm Symmar lens with Lee 6 stop filter
Fuji Acros Film at ISO 100
f/16 at 15 seconds
Developed in Ilford DD-X using a Jobo processor
Digitized using a Fuji GFX with 105mm Micro Nikkor lens
Located on Hunter Street in downtown Hamilton, the GO Centre is an amazing example of the International Style, specifically Streamline Moderne. Designed by New York architects Fellheimer & Wagner for the Toronto, Hamilton & Buffalo Railway the new station opened in 1933 replacing the original TH&B Station. The station maintained operations under Canadian Pacific, who acquired full control of the railway in 1981 and ceased all passenger service. The station closed in 1987 as all TH&B operations ceased. GO Transit began limited operations in 1992 and restoration work on the station began in 1993. The new Hamilton GO Centre opened in 1996 with a near full restoration of the original elements, the second floor holds the original TH&B traffic control centre and a small museum.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Sint Gerlach is a church in South Limburg, Netherlands with beautiful paintings. Shot with view camera (Cambo Actus MV)
A classic late 1800's / early 1900's studio camera originally used for portraits on odd size dry plates. I rebuilt the camera and converted it to to take standard 4x5 film holders. Recently I made a lens board to take a roughly 280mm vintage Baush & Lomb brass lens that I've had sitting on a shelf as decoration for several years.
Initially authorised by John Grave Simcoe as a means to improve travel and colonial expansion across Upper Canada, the road is named either Governor's Road, or Dundas Road, named for Simcoe's friend Henry Dundas. The original section from Burlington Bay to the Upper Forks of the Thames River, by the Queen's Rangers, started in 1793. Eventually, it expanded throughout the 19th Century across York (Toronto), becoming one of the longest uninterrupted roads and opening up a great swath of Upper Canada for colonization. In the 1920s, it formed the backbone of what would become Highway 5 and became the first of the Provincial and later King's Highway system to be paved end-to-end. Through the 1950s and 1990s, most of the highway was downloaded by the Province to local governments. Today it is mainly known as Dundas Road through Oakville.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Arista EDU.Ultra 400 @ ASA-200
Ilford Ilfotec HC (1+47) 7:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
contactprint from 8x10’ Foma film
Printed on Arches paper with Ziatype process
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#parconazionaleabruzzo
This is my "test barn" that I shoot whenever I get new equipment or I'm trying new techniques. It offers some serious challenges to exposure because you are always fighting the sun and the front of the barn is almost always in shadow. I brought my older Calumet CC-401 4x5 out on this particular day in September when I was trying out shooting color negative film on the 4x5. As always, the scene posed a metering nightmare so I metered on the front and side of the barn and averaged that exposure out knowing I would have to compromise and give up the exposure of the sky because I had left my Grad ND filters at home, Grrrrrrrr.
The barn is located on Swamp Creek Road in Perkiomenville, a rural part of Montgomery County Pennsylvania.
Camera: Calumet CC-401 4x5 large format monorail view camera.
Lens: Rodenstock Geronar 150mm F6.3 lens in a Copal 0 shutter.
Film: Kodak Ektar 100 C41 Color Negative Film
Exposure: 1/4 second @ F45 with film rated at box speed. Metered with a Pentax 1 degree spot meter.
Development: Self Developed film using Tetenal C41 color development press kit in a Paterson Universal Tank using taco method, hung on shower curtain to dry on film clips.
Scanning: Negative scanned with Epson V600 in two scans and merged back together in PhotoShop since the V600 doesn't natively support 4x5 scans in one pass. Cropped in Lightroom 4.
This is a modular view camera for Fuji GFX cameras. I built it using a combination of an Arca Swiss 69 rail and focus pillars with a Fuji G680 front standard. The rig is capable of mounting Fuji G680, Pentax 645, Mamiya 645 as well as standard view camera lenses from 45mm through 90mm. Front movements include swing, tilt, shift and drop. Rear movements are limited to shift and swing. The goal was to try and gain most of the movements and lens flexibility of the Cambo Arctus, without spending $4000. The Arca was not damaged in the process and can easily be reassembled using the original Arca standards, the most expensive part of the project was the sacrificial Fuji G680. Fortunately they appear from time time as-is on Ebay.
This image (about 4 ¼ X 3 inches) has not had an easy life. It was glued down to a later cardboard frame and was much faded by time. I have given the contrast a boost so that we can enjoy its original (I think) charm.
Completed in 1856, the Port Hope Station is a Grand Trunk Class B Wayside Station with a six-bay design. Constructed of local limestone in the Italianate Style, the station saw the addition of a telegraph bay in 1881. While threatened with demolition in 1978, funding mean for the construction of a new simple shelter by Canadian National instead went towards restoration in 1980. Today it is one of only two operational Grand Trunk Stations and one of nine surviving original GTR stations in Ontario.
Crown Graphic - Nikon Nikkor-W 180mm 1:5.6 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Rescanned and uploaded a better version 4/19/20. This one is lower in contrast, and looks more natural.
Darkroom Print. This is from probably the best negative that I've ever made. Print scans never seem to carry the impact that the originals have when viewed up close and personal, but that's the nature of the medium. I will, however, see if I can get my scanner to pony up at a later date, and I'll try this one again.
Camera: Deardorff 8x10.
Lens: 240mm Nikkor.
Film: Ilford HP5+ developed in 510 Pyro.
Contact Printed on Ilford MGIV RC. Selenium toned.
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1897 Ak-sar-ben Camera - Eskofot Ultragon 305mm - f/64 - Fomapan 200 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
This is the first exposure I've done with my new Deardorff 8x10 view camera and Kodak Ektar 12" lens. Film used was Ilford's Delta 100, exposed at 80 ASA (plus bellows extension factor added) and some reciprocity = 12 seconds, natural light. Processed in Xtol 1:1 for 10.5 minutes.
While I never attended the church, this church was my first school, nursery school that is. And while the building that housed the school is long demolished, I still remember it fondly.
Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford FP4+ @ ASA-64
Pyrocat-HD (1+1+100) 8:00 @ 20C
Meter: Pentax Spotmeter V
Editor: Adobe Photoshop CC
Having some small inconsistent light leak issues. Guess I need to be more diligent about draping my dark cloth over the film holders during exposure.
Toyo Field 4 3/4 x 6 1/2 Sakai Special
CM Fujinon W S 125mm f/5.6
Ilford HP5 plus @ 400iso
B+W 550/040 Orange filter
11:00 min in HC-110 (dil-h) 1:62 @ 20ºC.
Epson V800
2024012-5b
A church from the 13th century in Utrecht - not catholic anymore since centuries
This photo is not cropped in post, but is shot that way due to view camera adjustments.
contactprint from 8x10’ Foma film
Printed on hahnemuehlepaper paper with kallitype process no toned
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#parconazionaleabruzzo
Shot with Agfa HDR x-ray film, cut down to 13x18cm.
Super Angulon 90mm at f64 and 1"
Rodinal 1+100 at 22C for 8min in glass plated 10x12" tray.
Scan from negative, finished in PS.
©2015 Gary L. Quay
This is from a few years ago. I did my best to save the image. I had some trouble with my 8x10 negatives recently. I was getting horizontal streaks in them. You can see them on this one. It’s possible that it was due to a freezer that used to keep my negatives, or some other issue. It happened over multiple boxes of different films. I had it only on Ilford 8x10 films, though: HP5+, FP4+, and Ortho+. Has anyone else seen this?
Camera: Deardorff 8x10
Lens: 240mm Nikkor
Film: Ilford HP5+ Developed in Ilford Ilfotec-HC.
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4x5 shot on HP5 sheet film. Developed in Df96 and scanned with an Epson V850 as DNG. Converted to positive with Negative Lab Pro in Lightroom.
Light: 150cm indirect Octabox camera left, 20cm gridded dish on backdrop. Triggered with Skyport.
©2021 Gary L. Quay
I'm still working on getting my film developing skills dialed in. It's strange to be saying that after developing film for well over a decade, but I am working on tightening up my process to eliminate ruined negatives. I did not succeed with this one because I loaded my 20th Century Camera reel improperly. I'm not sure how I did that.
Camera: Deardorff 8x10
Lens: 360mm Schneider
Film: Ilford FP4+ developed in Ilford Perceptol.
# #deardorff #garyquay #largeformat #viewcamera #ilfordphoto #stilllife #perceptol
My Website and Blog: Gary L. Quay Photography
My stock portfolio on Shutterstock
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Feel free to join my Flickr groups
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1891 Rochester Optical Company Universal - G-Claron (Dagor Type) 210mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
©2013 Gary L. Quay
On this particular day in mid-May, the light was subtly fading to orange as the sun approached a cloud bank on the horizon. I had my camera set up just in time to snap a few pictures before it faded. It was a warm, peaceful evening on the coast--a rare event for spring on the Oregon Coast, and I wanted to convey that with this image.
Camera: Speed Graphic 4x5.
Lens: 127mm Kodak Ektar.
Film: Fuji Pro 400H
I wish I had a camera with front tilt for this one, but I may try again.
Uploaded a color corrected version 8/20/20. I was really trying hard to make it look more like a sunset for the original, but as the years went by, and computer monitors got better, the image on Flickr looked worse and worse. This time, I let the negative speak for itself.
# #pnwexplored #oregoncoast #oregonexplored #pacificnorthwest #garibaldi #garyquay #cascadiaexplored #outside #outdoors #oregon #onlyinoregon #viewfromhere #traveloregon #myoregon #speedgraphic #film #filmphotography #largeformat #viewcamera
My Web Site and Blog: Gary L. Quay Photography
My portfolio on Shutterstock
My portfolio on iStock
My portfolio on Adobe
Feel free to join my Flickr groups
and Flickr Today 2
When Henry Ford established the Ford Motor Company in Detroit, the assembly line method revolutionised automobile production. Ford of Canada is unique in the sense that it was incorporated on 17 August 1904 without any real ownership from the parent company in the USA. Today it is a wholly own subsidiary. While originally located in Walkerville, the company moved it's headquarters and established a manufacturing plant in Oakville in the post-war boom. Purchasing a large poultry farm the plant and new HQ opened in 1953. The current HQ building opened in 2002 replacing the original one.
Graflex Crown Graphic - Schneider Kreuznach Symmar-S 1:5.6/210 - Arista EDU.Ultra 400 @ ASA-200
Ilford Ilfotec HC (1+47) 7:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
White roses shot in the studio just before I disassembled the 5x7 for stripping, sanding and refinishing.
Technical details:
Burke and James 5x7" large format field camera.
300 mm Commercial-Astragon f6.3 Lens in Copal 3 shutter.
Arista EDU Ultra 200 B&W film (re-branded Fomapan), shot at ISO 160.
Exposure was 4 seconds at F32.
Lit by four fluorescent 80 watt bulbs inside a 28" Westcott Apollo softbox placed camera left and a 30" white reflector bouncing light back onto the flowers from camera right.
Developed in Ilford DD-X 1+4 dilution for 6 minutes and 50 seconds @ 20 degrees Celsius using a Beseler 8x10 print drum placed on Unicolor Uniroller 352 auto-reversing rotary base.
5x7" negative scanned with Epson V600 in three pieces then merged together using PhotoMerge in Photoshop.
Slightly warm-toned in post.
CROP_ Domingo Milella, Kodak Portra 160 NC 8x10".
Drum Scan by CastorScan
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CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
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Il servizio offerto da CastorScan è completamente orientato
a fornire la massima qualità di scansione e postproduzione sul
mercato internazionale.
Lavoriamo con artisti, fotografi, agenzie e laboratori che richiedono
una qualità allo Stato dell'Arte a prezzi ragionevoli.
Il nostro flusso di lavoro è completamente manuale ed estremamente meticoloso
in ogni sua fase.
Abbiamo sviluppato workflows e sistemi di profilatura esclusivi che ci consentono
di ottenere risultati impareggiabili dai nostri scanners, non raggiungibili
attraverso workflows semiautomatici e/o convenzionali.
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CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
Late afternoon light.
Captured on Fuji AD-M xray film, with a Kodak Master View 8x10" camera and a Fujinon 180 lens.
Developed in Adox RO9 (10+1000) at 24C, in 11x14" trays, for 8'min with intermittent agitation.
Scan from negative, finished in PS.
1897 Ak-sar-ben Camera - Kodak Commercial Ektar 300mm- f/45 - Fomapan 100 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
Milton's lone war trophy is a German 77mm Field Gun (FK16), captured 28 September 1918 on the Arras-Cambrai Road by the 3rd Canadian Infantry Battalion during a period known to history as "Canada's Hundred Days" these were the last 100 days of World War One leading up to the ceasefire on 11 November 1918. The gun arrived in Milton in the post-war years between 1919 and 1921.
Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Ilford FP4+ @ ASA-64
Pyrocat-HD (1+1+100) 8:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
“Sleeping Beauty”
Zion National Park becomes a completely different place in the Winter. It is always filled with beautiful juxtapositions, and winter brings out a whole new set variety of these combinations of texture and tone. In this scene, a snow covered evergreen tree is juxtaposed against a brilliant red sandstone wall forming a beautiful palette of reds, greens, grays and whites that evokes the feeling of Christmas.
On this week-long road trip, I camped, explored and photographed all over Zion National Park and Bryce Canyon National Park in the depths of winter with my large format 4x5” view camera and a large supply of film during the week between Christmas and New Years. This was my first major experience camping for an extended time in frigid winter temperatures, and it went quite well. My gear performed excellently, and I was able to stay warm and comfortable for a week outdoors with nighttime temperatures ranging on average from 14-22 degrees F. On this trip I also experimented with different films including Ilford FP4+, Fuji Provia 100F, and a box of expired Fuji NPS from 2003. All of them performed admirably, and I was quite pleased with the results! This image is from the Provia.
Intrepid 4x5” Field Camera
Fuji Provia 100F
Fujinon W 180mm ƒ/5.6
1.5s @ ƒ/45, front standard rise
If you don't follow me on Instagram or Facebook, you can follow me there to see a behind the scenes video from this image! Instagram.com/lowerylandscapes or facebook.com/lowerylandscapes
"Easter Greetings." An Easter postcard, trimmed at the top and postmarked 1909 on the back. This postcard was published as one in a series of photography-themed Easter postcards. For other cards in the series, see Photo_History's Easter Postcards of Boy with Camera and Rabbit.
I just like this composition over Borsdane Brook.
Intrepid Camera 4x5 Mk 5 | Nikon Nikkor-W 90mm f4.5 | Fomapan 100 100
Digitized with Tripod over Lightsource | Raleno LED Light Panel | Placed between two 0.7mm acrylic sheets
Home developed in Adox XT-3 Replenished Stock | 20c 6m 30s | Ilford Standard Agitaion
Negative Lab Pro v2.4.2 | Color Model: None | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: None
While officially founded in 1852, the Anglican church in Lowville traces itself to non-denominational sabbath schools being held in the historic village by missionary preachers from St. Luke's in Burlington. After outgrowing their original frame structure, the congregation completed their current stone building in 1896. A proper parish hall was opened in 1990. The hymn boards in the sanctuary were fashioned from wood taken from the original sanctuary.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Adox CHS 100 II @ ASA-100
Adox Atomal 49 (Stock) 5:45 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
Dead and alive Ponderosa Dead Ponderosa Pine on the Zuni-Acoma Trail in El Malpais National Monument, New Mexico.
Photographed with a Zeiss Ikon ICA Trona 9X12 plate camera with a Zeiss Tessar 135mm f/4.5 lens. J Lane Dry plate developed in Kodak HC-110 dilution B.
1905 Korona View - Kodak Commerical Ektar 213mm - f/45 - Fomapan 100 - 5x7 Film - HC110 1+100 - Unaltered Negative Scan